The Patience Stone

  THIS TALE, WRITTEN IN MEMORY OF N.A.

  —AN AFGHAN POET SAVAGELY MURDERED BY

  HER HUSBAND—IS DEDICATED TO M.D.

  From the body by the body with the body

  Since the body and until the body.

  ANTONIN ARTAUD

  introduction

  BY KHALED HOSSEINI

  It is a vexing fact that women are the most beleaguered members of Afghan society. Long before the arrival of the Taliban, Afghan women struggled for basic rights. Outside of a few urban pockets, the ironclad rule of patriarchal, tribal law has long denied women their right to work, education, adequate health care, and personal independence—all of this made infinitely worse by three decades of war, displacement, and anarchy. Though there have been some improvements in recent years, far too many women continue to languish under the unquestioned, absolute domination of tribal customs that deprive them of meaningful participation in societal life. For far too long, Afghan women have been faceless and voiceless.

  Until now. With The Patience Stone, Atiq Rahimi gives face and voice to one unforgettable woman—and, one could argue, offers her as a proxy for the grievances of millions.

  The plot could not be simpler. The entire story unfolds in one room, where an unnamed woman nurses her badly injured husband, who lies motionless, wordless, and helpless. As warring factions plunder and pillage on the streets, the woman feeds her husband through a tube. She lubricates his eyes and changes him. And she speaks to him. Tentatively at first, until gradually, the dam ruptures, letting loose a flood of startling confessions. With increasing boldness, the woman reveals how she has resented her husband, her disappointments in him, her fiercely guarded secrets, her desires and hopes, the pains and sorrows she has suffered at his hands. As her husband lies before her like a stone—indeed like the legendary titular stone, which absorbs the anguish of all who confess to it—the woman suddenly finds herself free from all restraint and her monologues reach a fevered pitch. What pours out of her is not only a brave and shocking confession, but a savage indictment of war, the brutality of men, and the religious, marital, and cultural norms that continually assault Afghan women, leaving them with no recourse but to absorb without complaint, like a patience stone.

  It is to Atiq Rahimi’s credit that his heroine is no saint suffering quietly in purdah. Nor is she much of a heroine. As the woman’s one-way discourse with her presumably unconscious husband goes on, the layers are peeled back, revelations come forth, and what emerges is the portrait of a complex and nuanced human being. Rahimi’s heroine is brave, resilient, a devout mother, but she is also flawed in fundamentally human ways, a woman capable of lying, manipulating, of being spiteful, a creature that, pushed hard enough, bares her teeth. And her body. Here, Rahimi has broached a great Afghan taboo, the notion of a woman as a sexual being. A pair of passages in this novel may very well generate protest from the more conservative sectors of the Afghan community, but Rahimi is to be applauded for not shying away from the subject. He is to be commended for not turning his heroine into the archetype of the saintly, asexual, maternal figure. Perhaps, writing this novel in French, and not in Dari, made it easier for him. He has been quoted as saying, “… a kind of involuntary self-censorship has come into play when I’ve written in Persian. My acquired language, the one I have chosen, gives me a kind of freedom to express myself, away from this self-censorship and an unconscious shame that dwells in us from childhood.” Whatever the reason, the reader benefits from his unflinching approach.

  It is also a testament to Rahimi’s considerable literary skills how vividly the war on the streets is depicted, even though the entire tale unfolds within the confines of a single bedroom. The specter of the unnamed conflict, fought between never named factions, is the third character in the room. Rahimi chooses to not take us to the streets. Instead, we experience war as most helpless civilians do. We hear the sudden bursts of gunfire, the screams, the terrifying silences. We feel the impact of mortar fire when the room shakes and plaster flakes rain down. Despite never taking us to the streets—or perhaps because of it—Rahimi succeeds in making us experience the chaos, the helplessness, the senseless brutality committed with impunity, the random and sudden outbursts of violence that take unsuspecting lives. The years of factional infighting were some of the darkest of the last thirty years in Afghanistan, and in Rahimi’s spare prose, the era comes to life to devastating effect.

  The Patience Stone, winner of the prestigious Goncourt Prize in France, is a deceptively simple book, written in a spare, poetic style. But it is a rich read, part allegory, part a tale of retribution, part an exploration of honor, love, sex, marriage, war. It is without doubt an important and courageous book. In this reader’s view, though, this novel’s greatest achievement is in giving voice. Giving voice to those who, as the fable goes, suffer the most and cry out the least. Rahimi’s nameless heroine is a conduit, a living vessel for the grievances of millions of women like her, women who have been objectified, marginalized, scorned, beaten, ridiculed, silenced. In The Patience Stone, they have their say at last.

  the patience stone

  Somewhere in Afghanistan or elsewhere

  The room is small. Rectangular. Stifling, despite the paleness of the turquoise walls, and the two curtains patterned with migrating birds frozen mid-flight against a yellow and blue sky. Holes in the curtains allow the rays of the sun to reach the faded stripes of a kilim. At the far end of the room is another curtain. Green. Unpatterned. Concealing a disused door. Or an alcove.

  The room is bare. Bare of decoration. Except between the two windows where someone has hung a small khanjar dagger on the wall, and above the khanjar a photo of a man with a moustache. He is about thirty years old. Curly hair. Square face, bracketed by a pair of neatly tended sideburns. His black eyes sparkle. They are small, separated by a hawklike nose. The man is not laughing, and yet seems as if he is holding back a laugh. This gives him a strange expression, that of a man inwardly mocking those who look at him. The photo is in black and white, hand-colored in drab tones.

  Facing this photo, at the foot of a wall, the same man—older now—is lying on a red mattress on the floor. He has a beard. Pepper and salt. He is thinner. Too thin. Nothing but skin and bones. Pale. Wrinkled. His nose more hawklike than ever. He still isn’t laughing, and still looks strangely mocking. His mouth is half-open. His eyes, even smaller now, have retreated into their sockets. His gaze is fixed on the ceiling, on the exposed, blackened, rotting beams. His arms lie passive along his sides. Beneath his translucent skin, the veins twine around the jutting bones of his body like sleeping worms. On his left wrist he wears a wind-up watch, and on his ring finger a gold wedding band. A tube drips clear liquid into the crook of his arm from a plastic pouch attached to the wall just above his head. The rest of his body is covered by a long blue shirt, embroidered at the collar and cuffs. His legs, stiff as two stakes, are buried under a white sheet. A dirty white sheet.

  A hand, a woman’s hand, is resting on his chest, over his heart, rising and falling in time with his breath. The woman is seated. Knees pulled into her chest. Head sunk between them. Her dark hair—it is very dark, and long—covers her slumped shoulders, rising and falling with the regular movement of her arm.

  In the other hand, the left, she holds a long string of black prayer beads. She moves them between her fingers, telling them. Silently. Slowly. In time with her shoulders. In time with the man’s breath. Her body is swathed in a long dress. Crimson. Embroidered, at the cuffs and bottom hem, with a few discreet ears and flowers of wheat.

  Within reach, open at the flyleaf and placed on a velvet pillow, is a book, the Koran.

  A little girl is crying. She is not in this room. Perhaps she’s next d
oor. Or in the passage.

  The woman’s head moves. Wearily. Emerges from the crook of her knees.

  The woman is beautiful. At the crease of her left eye, a small scar narrows the place where the eyelids meet, lending a strange wariness to her gaze. Her plump, dry, pale lips are softly and slowly repeating the same word of prayer.

  A second little girl starts crying. She seems closer than the first, probably just behind the door.

  The woman removes her hand from the man’s chest. She stands up and leaves the room. Her absence doesn’t change a thing. The man still does not move. He continues to breathe silently, slowly.

  The sound of the woman’s footsteps quiets the two children. She stays with them for some time, until the house and the world become mere shadows in their sleep; then she returns. In one hand, a small white bottle, in the other, the black prayer beads. She sits down next to the man, opens the bottle, leans over and administers two drops into his right eye, two into his left. Without letting go of her prayer beads. Without pausing in her telling of them.

  The rays of the sun shine through the holes in the yellow and blue sky of the curtains, caressing the woman’s back and her shoulders as they continue to rock to the rhythm of the prayer beads passing between her fingers.

  Far away, somewhere in the city, a bomb explodes. The violence destroys a few houses perhaps, a few dreams. There’s a counterattack. The retaliations tear through the heavy midday silence, shaking the window panes but not waking the children. For a moment—just two prayer beads—the woman’s shoulders stop moving. She puts the bottle of eyedrops in her pocket. Murmurs “Al-Qahhar.” Repeats “Al-Qahhar.” Repeats it each time the man takes a breath. And with every repetition, slips one of the prayer beads through her fingers.

  One cycle of the prayer beads is complete. Ninety-nine beads. Ninety-nine times “Al-Qahhar.”

  She sits up and returns to her place on the mattress, next to the man’s head, and puts her right hand back on his chest. Begins another cycle of the prayer beads.

  As she again reaches the ninety-ninth “Al-Qahhar,” her hand leaves the man’s chest and travels toward his neck. Her fingers wander into the bushy beard, resting there for one or two breaths, emerging to pause a moment on the lips, stroke the nose, the eyes, the brow, and finally vanish again, into the thickness of the filthy hair. “Can you feel my hand?” She leans over him, straining, and stares into his eyes. No response. She bends her ear to his lips. No sound. Just the same unsettling expression, mouth half-open, gaze lost in the dark beams of the ceiling.

  She bends down again to whisper, “In the name of Allah, give me a sign to let me know that you feel my hand, that you’re alive, that you’ll come back to me, to us! Just a sign, a little sign to give me strength, and faith.” Her lips tremble. They beg, “Just a word …,” as they brush lightly over the man’s ear. “I hope you can hear me, at least.” She lays her head on the pillow.

  “They told me that after two weeks you’d be able to move, to respond … But this is the third week, or nearly. And still nothing!” Her body shifts so she is lying on her back. Her gaze wanders, joining his vacant gaze somewhere among the dark and rotting beams.

  “Al-Qahhar, Al-Qahhar, Al-Qahhar …”

  The woman sits up slowly. Stares desperately at the man. Puts her hand back on his chest. “If you can breathe, you must be able to hold your breath, surely? Hold it!” Pushing her hair back behind her shoulders, she repeats, “Hold it, just once!” and again bends her ear to his mouth. She listens. She hears him. He is breathing.

  In despair, she mutters, “I can’t take it anymore.”

  With an angry sigh, she suddenly stands up and repeats, shouting: “I can’t take it anymore …” Then more dejected: “Reciting the names of God, over and over from dusk till dawn, I just can’t take it!” She moves a few steps closer to the photo, without looking at it. “It’s been sixteen days …” She hesitates. “No …,” counting on her fingers, unsure.

  Confused, she turns around, returns to her spot, and glances at the open page of the Koran. Checks. “Sixteen days … so today it’s the sixteenth name of God that I’m supposed to chant. Al-Qahhar, the Dominant. Yes, that’s right, that is the sixteenth name …” Thoughtful: “Sixteen days!” She takes a step back. “Sixteen days that I’ve been existing in time with your breath.” Hostile: “Sixteen days that I’ve been breathing with you!” She stares at the man. “Look, I breathe just like you!” She takes a deep breath in, exhales it laboriously. In time with him. “Even without my hand on your chest, I still breathe like you.” She bends over him. “And even when I’m not near you, I still breathe in time with you.” She backs away from him. “Do you hear me?” She starts shouting “Al-Qahhar,” and telling the prayer beads again, still to the same rhythm. She walks out of the room. We hear her shouting, “Al-Qahhar, Al-Qahhar …” in the passage and beyond …

  “Al-Qahhar …” moves away.

  “Al-Qahhar …” becomes faint.

  “Al …” Imperceptible.

  Is gone.

  A few moments drift by in silence. Then “Al-Qahhar” returns, audible through the window, from the passage, from behind the door. The woman comes back into the room and stops next to the man. Standing. Her left hand still telling the black prayer beads. “I can even inform you that while I’ve been away you have breathed thirty-three times.” She crouches down. “And even now, at this moment, as I’m speaking, I can count your breaths.” She lifts the string of prayer beads into what seems to be the man’s field of vision. “And now, since my return, you have breathed seven times.” She sits on the kilim and continues, “I no longer count my days in hours, or my hours in minutes, or my minutes in seconds … a day for me is ninety-nine prayer-bead cycles!” Her gaze comes to rest on the old watch-bracelet holding together the bones of the man’s wrist. “I can even tell you that there are five cycles to go before the mullah makes the call to midday prayer and preaches the hadith.” A moment. She is working it out. “At the twentieth cycle, the water bearer will knock on the neighbor’s door. As usual, the old woman with the rasping cough will come out to open the door for him. At the thirtieth, a boy will cross the street on his bike, whistling the tune of “Laïli, Laïli, Laïli, djân, djân, djân, you have broken my heart,” for our neighbor’s daughter …” She laughs. A sad laugh. “And when I reach the seventy-second cycle, that cretinous mullah will come to visit you and, as always, will reproach me because, according to him, I can’t have taken good care of you, can’t have followed his instructions, must have neglected the prayers … Otherwise you’d be getting better!” She touches the man’s arm. “But you are my witness. You know that I live only for you, at your side, by your breath! It’s easy for him to say,” she complains, “that I must recite one of the ninety-nine names of God ninety-nine times a day … for ninety-nine days! But that stupid mullah has no idea what it’s like to be alone with a man who …” She can’t find the right word, or doesn’t dare say it, and just grumbles softly “… to be all alone with two little girls!”

  A long silence. Almost five prayer-bead cycles. Five cycles during which the woman remains huddled against the wall, her eyes closed. It is the call to midday prayer that snatches her from her daze. She picks up the little rug, unfolds it, and lays it out on the ground. Makes a start on the prayer.

  The prayer complete, she remains sitting on the rug to listen to the mullah preach the hadith for that day of the week: “… and today is a day of blood, for it was on a Tuesday that Eve, for the first time, lost tainted blood, that one of the sons of Adam killed his brother, that Gregory, Zachary, and Yahya—may peace be upon them—were killed, as well as Pharaoh’s counselors, his wife Asiya Bint Muzahim, and the heifer of the Children of Israel …”

  She looks around slowly. The room. Her man. This body in the emptiness. This empty body.

  Her eyes fill with dread. She stands up, refolds the rug, puts it back in its place in the corner of the room, and leaves.


  A few moments later, she returns to check the level of solution in the drip bag. There isn’t much left. She stares at the tube, noting the intervals between the drips. They are short, shorter than the intervals between the man’s breaths. She adjusts the flow, waits two drips, and turns around decisively. “I’m going to the pharmacy for more solution.” But before her feet cross the threshold, they falter and she lets out a plaintive sigh: “I hope they’ve managed to get hold of some …” She leaves the room. We hear her waking the children, “Come on, we’re going out,” and departing, followed by little footsteps running down the passage, through the courtyard …

  After three cycles of the prayer beads—two hundred and ninety-seven breaths—they are back.

  The woman takes the children into the next-door room. One is crying, “I’m hungry, Mummy.” The other complaining, “Why didn’t you get any bananas?” Their mother comforts them: “I’ll give you some bread.”

  Just as the sun withdraws its rays from the holes in the yellow and blue sky of the curtains, the woman reappears in the doorway to the room. She looks at the man a while, then approaches and checks his breath. He is breathing. The drip bag is almost dry. “The pharmacy was shut,” she says and, looking resigned, waits, as if for further instructions. Nothing. Nothing but breathing. She leaves again and returns with a glass of water. “I’ll have to do what I did last time, and use sugar-salt solution …”

  With a quick, practiced movement she pulls the tube out of his arm. Takes off the syringe. Cleans the tube, feeds it into his half-open mouth, and pushes it down until it reaches his esophagus. Then she pours the contents of the glass into the drip bag. Adjusts the flow, checking the gaps between drips. One drip per breath.